License Art by Marketing at Trade Shows

Art needs to be seen by manufacturers in order to get licensing contracts. The more frequently the art directors (ADs) of the manufactures see the artists work via marketing and publicity of all kinds, on products, and exhibiting at trade shows the better the chance it will be licensed. And one of the best methods in gaining visibility is to exhibit at trade shows that have an art licensing section. There is nothing that beats interacting personally with ADs to create interest in the art, find out what themes are needed, and how they wish to receive future submissions. Read "Art Licensing Trade Shows" for information about the different trade shows that have art licensing sections.

Exhibiting at a show costs many thousand of dollars ($5,000 to over $10,000 depending on the show) for booth fee, hotel, airfare, booth display materials, and marketing materials. So before committing to exhibiting at a show, evaluate your art. Is it REALLY ready to be exhibited? Below are some questions that should be asked before exhibiting.

Computer Tip: Monitor Calibration & Correct Print Settings

The biggest complaint by computer users is that computers are not WYSIWYG (pronounced wizzy-wig; What You See Is What You Get). In other words, the color hues and shades on the monitor display does not always match the printed colors. In fact, it is impossible to absolutely match the colors because monitors and printed material are two different technologies. The backlit screen on the monitor make the colors brighter and lighter than the ink colors on dense paper. However, it is possible to get a fairly good match IF the monitor is properly calibrated and IF the color profile (generated by the calibration process) and print settings are entered correctly into the software being used to print the images.

The reason why monitors need to be calibrated is that every monitor interprets information from the computer operating system (OS) differently. Thus the color on the monitor needs to be adjusted with a color profile. The color difference is very evident if two monitors are side-by-side and the same image is placed on both. But the colors seen on the monitor(s) will only be accurate if a profile made during the monitor(s) calibration is assigned to the Photoshop or Illustrator file. Note: The colors as perceived on monitors alters as ambient light changes during the day and the angle at which the monitor is viewed. Also colors in the monitors change as phosphors (CRT monitors) and liquid crystals (LCD monitors) fade over time. Thus, monitors should be regularly calibrated.

Licensing Art: Don't be a legend in your own mind!

Some artists are so afraid that their art will be stolen that they will not put it on a website or show it to manufacturers unless the manufacturer first signs a non-disclosure statement. Regrettably that really limits the success they might have in art licensing because art needs to be seen in order to get licensing deals. I agree with the mantra of Susan Miller, owner of Mixed Media Group* who states "Don't be a legend in your own mind." During the Licensing 101 seminar at Licensing International Expo 2007, Susan expressed her mantra and explained that no one will see your idea, concept or art if you don't show it. But you do need to protect it as best as you can, seek licensing partners (manufacturers) that are reputable, and prosecute persons knocking off your art if it makes economic sense.

*Mixed Media Group, Inc. specializes in the development, production and licensing of intellectual properties such as ventriloquist Sherry Lewis, the animated series Wow! Wow! Wubbzy!, Mrs. Fields Cooky Corp., Marvel, Scholastic, Time, Inc. brands and artist Sandra Magsamen. Note: At the time this article was written Mixed Media Group website was "under construction" so it is not linked.

Yes, you do take risks that your art will be lifted when you market your art by showing it to manufacturers, placing ads, distributing marketing material, showing it to the public on your website, and licensing it onto products. Unfortunately artists do get ripped off. And often they don't know it until perchance their family or friends spot the art and tell them or they see the art while browsing the internet. So it is a catch-22. Either do not show your art and fail to get deals OR show it and get deals but risk the possibility of having it stolen.

Editorial: Become an art licensing PAL

You may have a positive attitude but are you a PAL (positive art licensor)? Being a PAL is not just having a positive attitude but it also means being proactive by networking with art licensing experts, artists, and licensees, by researching trends, by learning the art licensing industry, and by creating the type of art needed by manufacturers in order to have licensing success. Expressing negativity by complaining about not being able to successfully license your art doesn't get you deals. You need to find out WHY by requesting input from other artists, licensees, and licensing experts. However, keep in mind that just one persons opinion is not gospel so get many opinions. Then use the constructive criticism* you receive to improve your art, art collections, and business practices. Some of the questions that you need to ask are:
• Do I have the right kind of art (style and themes) for products that consumers want? Network with successful artists and hire art licensing consultants that ARE willing to tell you the truth and give you constructive criticism. Read "Networking Resource - Art Licensing Forums," and "On Art Licensing Coaches (consultants)."

• Do I have enough art to interest manufacturers? The more art you have the better chance manufacturers will license some of your art.

• Am I approaching the right manufacturers for my art style and themes? Don't approach manufacturers that don't use your art style and themes on their products. For instance, it is a waste of time contacting manufacturers that only uses realistic old fashioned themed art on their products which isn't your style.

• Am I following-up after contacting manufacturers? Read "Art Licensing Tip: What does follow-up really mean?"

* I love to hear accolades about my art. But it is more useful when I receive constructive criticism such as "the art is too busy. You should . . .", "the colors are too dark", "the images doesn't pop", "the text in the art doesn't standout, and "I can't use that theme on my products."

Networking and Sharing Information
Art licensing is about building relationships in the licensing industry. Networking and sharing your knowledge about the industry with artists, licensing experts, and manufacturers helps create those relationships. If you share information, others will also share information so that it is a win-win situation.

I know it has worked for me and it is the reason why I share licensing information on my blog. For example, an art director spent a half-hour going through my portfolio at the Atlanta Gift Show and then proceeded to tell me WHY my art does NOT fit the needs of his company. Some artists may think this is rejection but to me it was HUGE! He gave me invaluable information that helped me improve my art and make it more licensable. On top of that I then knew why I wasn't getting anywhere in licensing my art to his company. When I queried him on why he spent so much time looking through my art and then telling me why it wouldn't work for him, he said "you have helped so many artists (through my blog) that you deserve my help." Wow, I was "blown away" and very thankful for his input!

Artist Khristian Howell benefited by other artists sharing information with her when she exhibited at the Surtex show. Read "Tips from a First Time Surtex Exhibitor" on how Khristian found that by having a positive mental attitude and networking with other artists made exhibiting at Surtex a positive experience. Do you think that she will now share information with others? You bet she will!

Combating Rejection
Thinking positivity is difficult when manufacturers continue to reject your art. But rejection is part of the art licensing business and you need to continually deal with it. You must be persistent and not give up if you hope to license your art. Read "The Illustion of Rejection and How to Deal with It" by agent Maria Brophy. Also read "Dealing with Rejection: Tips for Card Designers" a five part series of articles by artist Kate Harper.

The last several years with the poor economy has reduced licensing opportunities for many artists. But that hasn't stop agent Lilla Rogers. Read her article "My Thoughts on Being an Artist in a Recession" for tips on improving the chances in licensing your art. And obviously artist and product designer Carol Eldridge hasn't let the poor economy stop her from licensing her art. Read "Licensed Samples and Such...." to see her recent licensing success which shows "that perseverance does pay off!"

So read the articles listed in this blog for information on how artists and agents continue to be positive in a challenging art licensing industry. And become a PAL to increase your licensing opportunities!

Note: I came up with the acronym PAL when discussing positive art licensing with my friend artist Kate Harper. Pictured above is the name badge that she gave me proclaiming that I am the president of PAL. Because Kate is also a positive art licensor, I then gave her a badge proclaiming that she is V.P. of PAL.  ;-D

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